What long shots in The Last Night of the Earth moved you?

There are some great long shots in The Last Night on Earth, especially the murder scene in the cinema. I don't know how the director came up with such a picture.

In the dark, Huang Jue took out his gun and aimed at the seat in front. At this time, all the focus gradually focused on the muzzle and a small red chair. The lens language suggests that our chair may show more parts, and then a head appears next to the chair, and the head of the Jue who wants to kill appears right above the picture. This shot tells three things: the murderer, the gun and the murdered person. As the lens goes on, the victim's face and body completely appear in the picture. At this time, I turned my mobile phone upside down, and I could see the complete picture and the emotion of the victim's presence. The white shirt seemed to be waiting for the sound of shooting, and blood soaked my body. At this point, the camera came to an abrupt end. Whether he was killed is unknown.

The long shot of playing table tennis with children begins with Huang Jue entering the cave, and ends with Huang Jue and Tang Wei kissing in the rotating room. In fact, I haven't seen a similar literary film for several years. This long shot really opened my eyes.

For half an hour, I finally saw it.

This narrative is especially suitable for shooting stories like talking in a dream. The table tennis racket rotates, an apple is eaten together with the core, the wild grapefruit is taken, and finally fireworks are set off, so that people can fly. Fireworks are easy to disappear, but they haven't been extinguished in the lens of 10 for more than a minute. During the conversation between Huang Jue and Zhang Aijia, fireworks kept burning and blooming until he and Tang Wei went into the burnt-out room and kissed each other. This is a story that happened in a dream.

Look at the thirteen invitations. There are many relics in Bidao's hometown. The Last Night of the Earth also shows many ruins and houses that are about to be demolished. As a scene in a normal story line, or as a scene in a dream. In the dream, the burned house will be revived, the dead will be revived, and the lost love will be revived. My understanding is that the director put back what he lost and couldn't get back into his dream.

It is false that people can fly, but missing is real.

Eating apples is fake, but missing is real.

The rotation of the house is fake, but love is real.

A roadside picnic may be better understood than the last night on earth. I was also impressed by the long shot of the roadside picnic. These long shots keep the whole narrative present and never lose clues. After a cruise, return to the original place and move on. People are always present, and several time lines and space lines coexist. It's like when you are eating popsicles, the phone next door rings, another dog next door calls for guests, the garbage truck at the door turns over and pedestrians avoid it. Everything appears in different scenes, but it is connected in series with a line and a unhurried lens. This is not an advertisement, and there is no shot change. Isn't it great? It is worthwhile to take film lessons as learning materials.

An interesting place is that Bi Dao likes to play games. He uses the first-person perspective of the game on the photographer. In a long shot, Wei Wei rides a motorcycle and takes Bobby Chen to the river to bypass a row of houses. The photographer didn't follow them all the way, but crossed an alley. After a while, a motorcycle appeared in the picture. As spectators, we know that motorcycles are on the road and we don't need to follow them all the way. The photographer walks through the alley, and this perspective actually feels like the audience's perspective. That's great.